SKETCHES OF THE PLAY «TURKISTON TABIBI»

Аннотация

The article discusses not only the successes achieved through research conducted during the Independence Years at the Kattakurgan Theatre, but also some shortcomings that occurred. In particular, the play Turkiston Tabibi by Mannon Uygur, staged by the young director Feruzbek Roziyev, is onesuch work. Keywords:Kattakurgan, youth, theatre, doctor, play, character, actor, performer. During the years of independence, as a result of the Kattakurgan Theatre’s efforts to discover young talents, Feruzbek Roziyev staged Mannon Uygur’s comedy Turkiston Tabibi. This was because there was a growing need for works addressing certain vices encountered in life. Indeed, as art scholar Sarvinoz Kadirova noted, “Laughter is the main weapon of comedy. While tragedy reflects grand inner emotions and passions, and drama combines both comedic andtragicelements, comedy exposes thenegative and unpleasant aspects oflife.” Taking this work into his hands, Feruzbek Roziyev applied these ideas to the stage using the buffoonery genre. This indicated his ambitious artistic goals. In fact, this in itself can be considered his main success, as the director did not blindly follow the author but attempted to createhis own unique production. Toachieve this,he worked ontheplay, sought innovation, and even rewrotethe prologue. However, Roziyev did not stop there. To more accurately express the genre of the play andemphasizeits essence, he incorporated elements of Uzbekfolk performances. As a result, the performance began with an unusual dialogue: the actors appeared onstage, deciding to perform a new play. Initially, actors Utkirjon Ochilov and Naghmatilla Salimov entered the stage performing a rhythmic, playful movement in sync with light yet intriguing musical tones. This further reinforced the fact that the play was staged in the buffoonery genre. The next two actors, Mamaniyoz Roziyev and Shohjahon Egamberdiyev, appeared directly as the characters Eshimqul and Abdurahmon. As they discussed the new play they were about to perform, a newly added character by the director, Gulnora Rizaeva, entered, asking for a role. At first, the others rejected her. Then, after some deliberation, they suggested she play someone’s wife. Essentially, the actors were performing a play within a play. Eventually, Rizaeva agreed to portray Abdurahmon’s wife. Now, the only missing element was the doctor himself. This issue was quickly resolved when Umrzok Tillaev suddenly entered the stage in the role of the doctor, bringing the discussionto aconclusion. page1601 INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE ISSN:2692-5206,ImpactFactor:12,23 AmericanAcademicpublishers,volume05,issue03,2025 Journal: https://www.academicpublishers.org/journals/index.php/ijai Thus, as the director's chosen method unfolded—with roles being assigned and rehearsals taking place within the play itself—fifteen minutes passed. However, this extended introduction caused some distraction, leading theaudience toexperience slight boredom. Of course, innovation and taking risks are commendable, especially when aligned with the principle articulated by Mahmudhoja Behbudi: “Theater is a means of preaching and admonition, exposing harmful customs, traditions, and practices.” However, maintaining balance isequally crucial foraproduction’s success. From this perspective, some shortcomings in the performance became evident, primarily due to the director’s excessive enthusiasm for innovation. When referring to the “director’s excessive enthusiasm for innovation,” the aforementioned fifteen-minute segment is meant. That is, the director became so engrossed in his chosen method that he forgot to maintain a reasonable limit. No matter how engaging a technique is, it should not exceed its natural scope, lest it lose itseffectiveness. Ultimately, the main show only began after fifteen minutes, and as the events unfolded, the performance turned into a grotesque display. This was particularly noticeable in Umrzok Tillaev’s portrayal of the doctor and Mamaniyoz Roziyev’s Eshimqul. However, while these characters leaned towards grotesque, the characters played by Shohjahon Egamberdiyev and Gulnora Rizaeva shifted towards domestic comedy. As a result, multiple genres became intertwined within theperformance. It is often said that properly defining a play’s genre accounts for half of its success. However, Turkiston Tabibi at the Kattakurgan Theatre lacked a clearly defined style and genre, resulting in occasional chaotic scenes, excessive noise, and unnecessary on-stage conflicts. Consequently, the audience’s attention wavered, leading to disengagement. Yet, when examined individually, none of the character portrayals could be deemed poor—each was well-executed in its own right. So where was the issue? The problem was that thecharacters seemed as ifthey belonged to different productions directed bydifferent people. Another shortcoming was that some actors did not fully sustain their character portrayals unti